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Cemantics - Canibus



     
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Cemantics Lyrics


Aiight yo
Let's talk about the incredible rap flow
We can have a Dinner for Five with John Favreau
See it comes to me natural
One of my integral attributes, is to be lyrically tactful
I can prove who's nicer, who's not an emcee
Through falsifiable scientific hypothesis
In recent times, I find it's never been about the rhymes
The game is very politicized
Those who sympathize with they hearts and minds
Show hatred through the mouth, body language and eyes
Sometimes I say to myself, why do I even try
In spite of whatever happens, I love it until I die[Chorus]If you don't believe in the other dimensions you been duped
They're the main ingridience in this cosmic soup
See the mouse?, grab it
Edit the edges with Avid
Is this the picture of a duck or a rabbit
You see ass and tits?, welcome to madness

Please, try to interpret the following passage
Magenetohydrodynamic mechanics
Translated into Canibus language you'll never understand it
It's on when the crowd is cheering me on
Waving they arms, like they doing Falun Gong
Firearms three quarters of a million troops strong
In a single file line, stretched out a mile long
Thermodynamics of the second law
Isolated physical systems lead toward greater disorder
Across the dry desert in the featureless sand
Water is secondary to the meaning of man
I know but I won't tell
There's more to the human race than polymers proteins and protocells
Chemical evolution, L- and D-form sudunits
That come from the love of Hip Hop and Rap music[Chorus]The scourge of the words, I attack the earth with
I bet you submerge dry and emerge wet, what you think?
Confuse my shrink with english, the publication refuses to print
My daughter likes blue, and my son likes pink
Man, give me a drink
What kind of world are we living inn? I think it stinks
Whatever life you live, it's a quick-sited quiz
If you percieve something to be real maybe it is
Force your kids to listen to Dead Prez, before they go to bed
Send them to school, put them in special Ed
Reinforce their paranoia of the feds
Make sure they grow dreads and they live on the edge
The philosiphy of the hard-knocks, pan-psychics sit on the block
And attempt to talk to rocks
In the projects where they harvest the human crop
Organic robots that bleed when they get shot
If you can survive or thrive in the Jamacan ghetto
You deserve a Congressional medal
My heart goes out to all the young bloods
The heart has reasons the mind knows not of
From the first to the twelfth month
I keep a twelfth pump in the trunk, for the day when Hell comes
Was invincible on the mic when I held one
My motto was to blaze all and spare none
I came, I saw, I conquered, now they're just an empty void
Mic Club come holla at your boy[Chorus]

Enjoy the lyrics !!!
Born Germaine Williams in 1974 in Jamaica, Canibus moved to the United States with his mother at a young age. Because his mother's career required constant relocation, the family moved frequently and the soon-to-be rapper found solace within himself. His rhetorical abilities blossomed later, once hip-hop became the guiding force in his life. He began rhyming and in the mid-'90s joined a group called T.H.E.M. (The Heralds of Extreme Metaphors.)

This group consisted also of his partner Webb. Following a fallout with his partner, Canibus pursued a solo career and began infiltrating the mix-tape circuit. By 1997, he had approached the brink of the major-label rap game, guesting regularly on high-profile releases: He contributed to "Uni-4-orm," an inclusion on the Rhyme & Reason soundtrack also featuring Heltah Skeltah and Rass Kass; "Love, Peace & Nappiness," an inclusion on the Lost Boyz's Love, Peace & Nappiness also featuring Redman and A+; "Making a Name for Ourselves," an inclusion on Common's One Day It'll All Make Sense; the non-album remix of Wyclef Jean's "Gone Till November."

And most famously, "4, 3, 2, 1," an inclusion on LL Cool J's Phenomenon also featuring Redman, DMX, and Method Man.

Of the several guest appearances, "4, 3, 2, 1" certainly meant the most, as it brought together many of New York's preeminent hardcore rappers and thus ushered Canibus into that same elite class. At the same time, however, Canibus lashed out shortly afterward with the Mike Tyson-featuring "Second Round K.O.," where he rhymed, "So I'ma let the world know the truth, you don't want me to shine/You studied my rhyme, then you laid your vocals after mine."

In fact, the entirety of the song directed barbed rhymes at LL: "You walk around showin' off your body cause it sells/Plus to avoid the fact that you ain't got skills/Mad at me 'cause I kick that sh*t real niggaz feel/While 99 percent of your fans wear high heels," and so on. Shortly thereafter, LL sought his revenge, releasing "The Ripper Strikes Back" on the Survival of the Illest soundtrack (1998) and thus channeling even more attention toward Canibus.

From the track's chorus ("Can-I-bus? Yes you can!") to practically every line of the verses ("You soft as a newborn baby takin' a nap/Make my dick hard with that bitch-ass track/Where you at? smokin' in some one-room flat/Suckin' on Clef's dick hopin' to come back"), LL unleashed a fury of insults and threats. The media, of course, elevated the battle to grand heights, as even MTV gave the story headlines. In the aftermath of 2Pac's and Biggie's deaths, such confrontations fascinated the rap community, and Canibus certainly capitalized on his newfound publicity.

As for his debut full-length, Can-i-bus (1998), though, the response was sobering. Critics expressed little support, and sales quickly dropped as listeners also felt genuinely disappointed. Executive produced by Wyclef, the album suffered on many levels, both production-wise and rhetorically as well (critics targeting Canibus' delivery more than his lyrics or themes). The momentum that "Second Round K.O." had generated simmered almost immediately, and it didn't help that LL's "Ripper Strikes Back" found substantial acceptance at the time as well.

In the two years following the release of Can-i-bus, the rapper maintained an extremely low profile, much in contrast to the regular guest appearances he had made leading up to his debut. As a result, when he finally did return with his follow-up album, 2000 B.C. (2000), few noticed, it came and went generally unheard, and Canibus returned to the underground after parting ways with Universal. He continued to record albums and release them on the independent circuit (including 2002's Mic Club, 2003's Rip the Jacker, and 2005's Mind Control); furthermore, he retained a small base of fans as well, yet his days as the next-big-thing had clearly come and gone, as they similarly had for so many other talented rappers.

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Canibus